Caution: Language at the very end may be offensive to some viewers.

Designed by: Laurent Brett, Specimen France
Year: 2005

Leave it to these goof balls to come up with the highlight of the evening:

And unlike the motion picture academy, the television academy awards best main title design. This year’s winner, “Dexter”:

And finally, what awards show can be complete without some controversy? This time it was censoring an anti-war message. It might have been because Sally Field used the word “god-damn,” but apparently that word is allowed to be said on TV.

Designed by: Danny Yount
Year: 2005

Designed by: Saul Bass
Year: 1955

Designed by: Shadowplay Studio
Year: 2006

Designed by: MK12
Year: 2006

Designed by: Unknown
Year: 2004

Designed by: R/Greenberg Associates
Year: 1979

Designed by: Nexus Productions
Year: 2002

Designed by: R/Greenberg Associates
Year: 1978

As a bonus, here’s the “Superman Returns” version:

Designed by: Kyle Cooper
Year: 2006

Designed by: Daniel Kleinman
Year: 2006

Designed by: yU+co
Year: 2006

Designed by: Saul Bass
Year: 1960

Stellar work has been done in the movie title sequence industry. I’m going to highlight some of that work in the next several weeks. To begin:

Designed by: Kyle Cooper
Year: 1995

What makes a great film? Is it the director? The producers? The acting, the screenplay, or the music? No one thing can make a film great by itself. A great film is made from successes in every area, from behind the camera, in front of it, and beyond it. From the moment the film begins, the audience should be captivated, drawn-in, and thirsting for more. What in film is the first thing the audience sees — the first thing to capture the audience or the last thing before leaving the theater? The titles.

Most film title sequences are simply text over image or a colored background, but more and more films today are employing slick graphics, illustrations, and motion to move the audience through the list of names and titles. These elaborate pieces of art are highly capable of standing alone from their films, but placed in context with the film, the titles elevate the experience for the audience.

Film titling is an art form onto itself with a history to back it up. This art form, unfortunately, has gone largely unrecognized by the Academy of Motion Picture Arts and Sciences. Just as lighting, costumes, and sound provide integral components to a film, so do title sequences. While makeup artists, film editors, and song composers garner accolades for their artistry, creators of title sequences are overlooked. This travesty must be rectified by the Academy by inclusion of an Oscar for Best Title Sequence.

Since 1997, the Emmy Awards, given out by the Academy of Television Arts and Sciences, have included a similar category Outstanding Main Title Design. The work created for many of the television programs nominated in this category has been on par with title sequences created for films. The television academy has realized the importance of including this award. Why has the motion picture academy not done the same?

Historically, the Academy has been famously stubborn about adding new categories. In the last twenty-five years, only two categories have been added Best Makeup in 1981 and Best Animated Feature in 2000.

For whatever reason, the Academy shuts out film artists who positively contribute to films year after year and deserve its recognition.

Having an award for Best Title Sequence can only do great things for the industry and for films in general. Honor the past, recognize the present, inspire the future. The historical groundings of the title sequence and the industry’s pioneers, like Saul Bass, Pablo Ferro, and Maurice Binder, would finally be properly honored; current artists would garner the recognition they deserve; and an Oscar would also highlight this growing art form and inspire and give incentive to push the limits even more. What is more inspiring to push creativity and technical constraints than the potential at winning an Oscar and the recognition that comes with it?

Having an Oscar for Best Title Sequence is the right thing to do to honor the history and creative aspects of this art form. While films like “Psycho” and “Se7en” could have survived without their title sequences, both films would have lacked a crucial and creative way to set the films’ moods and entice the audiences while introducing the cast and crew of each film.

The Emmys have their act together. Now it’s time for the Oscars.